"I always had an affinity for the lower end of things and I liked the physically intimidating and challenging nature of the instrument. It was mano-a-mano, the physical representation of the object versus your body. It was more symmetrical in terms of the instrument’s stature and weight. I liked the freedom of exploration acoustically it gives you with the deeper, longer and wider tube. It gives you much more of a breadth and depth of frequency to play with" - Colin Stetson says in The Quietus interviewThe long road about his instrument of choice - the bass saxophone. He is about to release his new single, ‘When We Were That What Wept For The Sea’, celebrating the life of his father.

Mogwai share a 'Pat Stains' featuring sax-magician Colin Stetson who adds tension to the calming song; Anika Pyle goes simple and comforting on 'Blame'; So Badly turn to dream pop on 'Harley Davidson'.

GoGo Penguin "grew up in the era of techno and drum and bass, and have cannily adapted the rush of electronic music to a traditional acoustic lineup of piano, double bass and drums" The Observer writes in a review of electro-jazz trio's intense yet relaxing and gentle new album.

Colin Stetson has been making movie scores for a few years now, his latest, 'Barkskins' stands out as the richest and the most haunting. National Geographic's drama series investigates the subject of the deforestation of the New World from the arrival of English and French colonists.

"My favorite thing about scoring is that every time it's a unique opportunity. I get to invent a new array of solutions with novelty and identity. I hope the music has not existed in the particular guise and aesthetic before that" - saxophone player extraordinaire Colin Stetson says in an interview about scoring soundtracks. His last - 'Color Out of Space', an H.P. Lovecraft adaptation starring Nicholas Cage.

A great read in the Electronic Beats about how film scoring has become an increasingly fertile industry for artists rising from the more experimental branches of electronic music and club culture. Last year, Bobby Krlic - better known as the experimental artist The Haxan Cloak - scored the Swedish horror movie 'Midsommar'. Oneohtrix Point Never first built his career with idiosyncratic, synth-laden productions, to skip over to experimental scores as Daniel Lopatin, producing two of Josh and Benny Safdie’s films, 'Good Time' and 'Uncut Gems'. Alec Empire, frontman of Atari Teenage Riot and longtime maverick of the German noise, industrial, ambient and digital hardcore scenes, has been involved in several A/V and film-scoring projects in his multifaceted career

Jazz is more serious than other genres - jazz requires exactly as much or as little expertise to listen to and appreciate as anything else

Jazz was born in New Orleans - it emerged almost simultaneously in a number of different communities

Jazz must swing - jazz artists are prone to experimenting with unusual time signatures

Jazz musicians were (or are) on drugs - early propaganda designed to paint black communities as dens of iniquity, and create reasons to arrest them

Jazz is dead - it’s integral to hip-hop and vibrant jazz scenes in Los Angeles, Chicago, London, Canada

Part of 'I Feel Saved' can be heard in the trailer for the new movie 'Age Out' (watch/listen below), directed by A.J. Edwards. The movie is scored by Colin Stetson (his unmissable sax is heard towards the end of the trailer).

1. Deafheaven: 'Ordinary Corrupt Human Love' 2. Sons Of Kemet: 'Your Queen Is a Reptile' 3. Møl: 'Jord' 4. Mitski: 'Be The Cowboy' 5. Earl Sweatshirt: 'Some Rap Songs' 6. NoName: 'Room 25' 7. Rivers of Nihil: 'Where Owls Know My Name' 8. Pusha T: 'Daytona' 9. Kendrick Lamar: 'Bad Kid Chill City' 10. Kids […]